1976 2008 布面丙烯 220x165cm
爬 2008 布面丙烯 165x220cm
公園里的雕像1 2008 布面丙烯 165x220cm
Boers Li 畫廊將在十一月八日至十二月二十一日期間于主展廳展出龔劍個展——“人民公園”。在是次展出的繪畫作品中， 龔劍摒棄了早期作品對高級/低級， 民間藝術/當代藝術的拼湊，轉而從生活碎折的意難平中，鍛造自己的藝術語言。
龔劍，1978年生，現(xiàn)居武漢， 作品媒介多樣化， 從繪畫到裝置作品兼具。龔劍活躍于藝術邊緣，在作品風格和介入社會的方式上，他另辟蹊徑，其別樹一幟使他成為同輩藝術家中有趣的一員。
在他的早期作品中，龔劍改編了一些中國民間繪畫，以戲謔的方式表達荒誕的政治與歷史主題。油彩技巧和舊式社會主義的現(xiàn)實主義民間繪畫塑建了龔劍的筆法，他把二者融合，技巧的嫻熟確實為人所稱道。龔劍大膽的用色使畫面造成強烈的視覺刺激，把觀者引往盤桓畫布之上,諷刺時弊的弦外之音。
盡管龔劍并未完全揚棄他以往的市井式文化嘲戲，可是近來他確實收斂了他的戲謔態(tài)度，轉而涉足一系列的學術實驗，例如研究關于深度和真實性的話語，并探索風格和語境關系。
無論對象是公共領域還是美術史，介入是貫穿龔劍至今藝術生涯的概念 。龔劍的油畫新作捕捉了他早期作品的艷麗與視覺趣味，同時保留了近期作品以概念主導之學術優(yōu)勢。
龔劍自接觸繪畫開始，便被這一平面媒介所包含的可能性所吸引，這促使他對繪畫風格和主題進行了廣泛而持續(xù)的探索。在藝術家的早期創(chuàng)作中，他以亦莊亦諧的手法，為自己開拓了多樣化的藝術方向。在《人民公園》中，作品的重點從說教和后現(xiàn)代主義移開，取而代之的，是藝術家對風格的意義的詰問。
人民公園是環(huán)繞這次展出作品的主題（同名的城市空間有如復制一般，出現(xiàn)在中國各大城市）。人民公園是一個從不真正開放予意義上的公眾的公共空間，這些公園是欲望和秘密圈子的麋聚之地。同性戀人的邂逅，老者的太極，人群高唱的革命歌曲，集體歌舞……這些場景在人民公園屢見不鮮。人民公園作為公共空間，是私人欲望和公共領域的接觸面，當中的社會與情感內涵是龔劍在這次展覽探究的對象。
龔劍筆下的森林，草地，以至匍匐著的人體，全都顯得張狂而情感充沛，它們拼綴成藝術家的文化宇宙。龔劍從日常語境里撕擄這些事物，并把它們加插在他傾斜的視覺世界里。這些枯燥的景物被抽調到畫布上，化為靜物，并獲賦予一種來自動態(tài)缺席的運動。這種轉化透過作品里的光影反差與戲用，為作品開拓了供他者觀察的空間。
龔劍作品的構圖筆觸皆為簡潔，其中蟄伏著藝術家殘酷而傷感的凝視，藝術家的凝視表達了人類和文明帶來的暴力。龔劍作品中的模糊混沌展現(xiàn)出一種如夢似幻的特質, 稚嫩的烏托邦夢幻和混亂、險惡共冶一爐。主題和背景在龔劍的作品里邊界模糊，這是其作品里暴力的極至。在此，觀者被施與藝術家的凝視帶來的暴力，觀者只能任由視覺迷滯在畫布上的混沌里。
AV 大久保將于開幕式演出，這支武漢搖滾樂隊曾觸動不少國內樂迷，且他們鮮有在北京演出，切勿錯過。
Dates：8 November – 21 December
Time：Tuesday – Sunday 11:00 – 18:00
Opening：8 November, 16:00-18:00
Place：Boers-Li Gallery, Caochangdi No. A-8
Boers-Li Gallery is pleased to announce that Gong Jian will be featured in the next solo exhibition in the main space, Gallery I. Entitled People’s Park, the exhibition will open to the public on 8 November and run through 21 December. These paintings leave behind the pastiche of high/low and folk/contemporary that characterized much of the artist’s early work, instead forging an artistic language steeped in the fragmentsof a half-lived life.
Gong Jian, a young artist born in 1978 and based in Wuhan, works in a diverse range of media from painting to installation. Notable for his successful willingness to work and from the periphery of the Chinese art world, he has consistently proven himself to be one of the most interesting artists of his generations by attempting to forge his own path in terms of stylistic development and social intervention.
In his earlier work, he playfully adapted the vernacular of Chinese folk painting to approach absurdist political and historical themes. Particularly well-developed is his blending of oil materials with the older graphic styles of pre-socialist realism folk painting. His brushwork reflects this variety of influences, while his use of color creates striking visual compositions that draw attention to this subtle and ironic social commentary.
Recently, he has moved towards less playful and more academically informed experiments with discourses of depth and authenticity, examining the relationship between style and content—although this is not to say that he has abandoned the crass pop culture jokes. Throughout his career, the artist has concentrated on the concept of the intervention, in both public space and art history. His newest oil paintings capture the vibrancy and visual interest of his colorful earlier works while maintaining the academic edge of his conceptually rich recent work.
Interested primarily in the possibilities of painting itself, Gong Jian has explored a vast range of both styles and subjects. None of these thematic threads ever disappear from his practice, but the artist has certainly approached specific creative directions with varying degrees of rigor and interest over the span of his early career. Here, the audience finds a reduction of the didactic and thematically postmodern; instead, they are replaced with an interrogation of the meaning of style itself.
The paintings in this exhibition revolve around the concept of the People’s Park (an urban space found in identically-named iterations in most cities across China). Representing a public space that can never be truly available to any meaningful public, such parks have become repositories for private scenes and desires: trysting students, homosexual encounters, geriatric tai-chi, revolutionary sing-alongs, and group dances are all common scenes. This space, an interface between private desires and public lives, carries a set of social and emotional connotations explored by the artist in this exhibition.
The subjects of these paintings include aggressive but empathetic takes on forests, grass, and erotic crawling figures—all pieces of Gong Jian’s cultural universe that he rips from their standard contexts and inserts into his new world of skewed visuality. These prosaic scenes are abstracted onto his canvases, transformed into static objects, and endowed with a sense of motion that comes from without. This transformation creates a space for observation via a repetitious composition that plays on light and a strong sense of contrast.
The gaze of the artist, recalling the violence of human or social presence through both visual framing and the terse brushstrokes themselves, is both harsh and melancholy. In some ways, however, this indiscernible and undifferentiated mass of the observed takes on a certain dreamlike quality, melding the oneiric and utopian infantile phantasy with the sinister and chaotic. Gong Jian’s ultimate act of artistic violence is the blurring of the subject and its background, making it difficult for the viewer to concentrate or see any clear object—the viewer, too, is subjected to the violence of this painterly gaze.
The opening reception will include a performance by Wuhan-based rock band AV Okubo, whose sets have electrified audiences across China. This show will be a not-to-miss rare visit to Beijing.
For more information on the coming exhibition, please feel free to contact us.
【編輯：霍春常】
